JASON WILLIAMS: untrained, uncompromising and experimental in his approaches with a non-careerist attitude for over thirty years. Being central to the noise explosion of the early nineties, his superannuated project Deepkiss720 was summed up in IDWAL FISHER ‘zine… ”Jase’s contribution to the UK noise scene may be small when looked at in terms of released output (tapes, CDRs and one vinyl LP) but that is no reflection on his influence and input... ” Jason’s cut up music became more like art and he collaborated with contemporary German artist Albert Oehlen for the “I will always champion bad painting” exhibition, with one of the results also ending up in the “I Will Always Champion a Good Painting” show at the Whitechapel Gallery and Galerie Max Hetzler. His detour into the more hidden art world lead him into years of research / films and xerox mail art etc with the OKOK Society and Jason has been involved with many now defunct art projects such as Black Metal High Impact Aerobics, Mothers Of The Third Reich, Life Irritates Art and Hysteresis. His current practice involves constantly reworking the same pieces, destroying / rebuilding, overpainting and glitching.
image3-A8309-Glitch is a glitched photo of a sculpture project Jason was doing about a year ago. Glitching is a way of manipulating digital images, video or even sound to cause distortions and alterations that seem like they were caused by hardware malfunction.
Jason has shown or performed at venues including Phoenix Gallery, Fabrica, and Sallis Benney Theatre in Brighton, Tate Modern, ICA and Whitechapel Gallery, London, Galerie Max Hetzler, Pilotenkueche Leipzig, Dusseldorf Kunst Academe, Lucy Bell Fine Art, Zuzushii Monkey Gallery, and Newhaven Fort and many others.